From the painting of these scenes from real life, he passed gradually to the painting of things purely imaginary—to those visible only to his own mind.
A dainty picture which belongs half and half to each of these classes of pictures, represents the Virgin a little girl, sweet and quaint as she must have been, standing by St. Anne’s knee, apparently learning a lesson from the open book. Both figures are beautiful in themselves and, besides, they present the always interesting contrast of age and youth. This was one of the pictures that well-nigh brought trouble on Murillo from some zealous churchmen before referred to. They thought that the Virgin was gifted with learning from her birth and never had to be taught. They merely criticized the treatment of the subject, however. It was an innovation in church painting.
THE MELON EATERS.
Murillo.
By this time Murillo was wealthy. He had numerous commissions and, in society, he mingled with the best in the land. He was now in a position to marry, which he did in 1648. There is a story told of Murillo’s marriage which one likes to repeat. He was painting an altar-piece for the church in Pilas, a town near by; while he was working, wrapt in thoughts of his subject, a lovely woman came into the church to pray. From his canvas, the artist’s eyes wandered to the worshipper. He was deeply impressed with her beauty and her devotion. Wanting just then an angel to complete his picture, he sketched the face and the form of the unsuspecting lady. By a pleasant coincidence he afterwards made her the angel of his home—his good wife. The painter doubtless proved the truth of Wordsworth’s beautiful lines—
“I saw her upon nearer view
A spirit yet a Woman too!
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“A countenance in which did meet
Sweet records, promises as sweet;
A creature not too bright and good
For human nature’s daily food.
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